Oxford University Press's
Academic Insights for the Thinking World
The 2016 Society for American Music (SAM) conference was held in Boston, where scholars and institutions from around the globe gathered together in a supportive and uplifting five-day meeting that consisted of panels, presentations, discussions, field trips, musical performances, receptions, and the celebration of books and authors.
Songs leave unique imprints on people and places. In India, especially, songs from films offer a multitude of trajectories for anyone who is more than deferentially familiar with them, contained in or limited by larger prospective areas of film study material. Film songs form a major portion of its popular culture hence, are etched into individual and collective memories weaving unique tapestries of such imprints.
Music is a human construct. What is acknowledged as ‘music’ varies between cultures, groups, and individuals. The Igbo of Nigeria have no specific term for music: the term nkwa denotes ‘singing, playing instruments and dancing’.
At the beginning of May 2015, I spent some time at the Cornwall International Male Voice Choral Festival, a massive affair with 70 choirs at 60 events in 50 venues all over Cornwall, packed into a long Bank Holiday Weekend. The mastermind behind this well-organised event was Festival Director Peter Davies, director of the Huntingdon Male Voice Choir.
Nineteenth and twentieth Century opera houses are finding new lives today. Opera houses were once the center of art, culture, and entertainment for rural American towns–when there was much less competition for our collective attention.
This March, we’ve been focusing on the flute and its history and importance in the music scene. Resident OUP history editor Nancy Toff is also active in the flute world, as a performer, researcher and instructor. In order to delve into Nancy’s wealth of knowledge about the flute, we asked Meera Gudipati, currently attending the Yale School of Music as a Master of Music, to interview her about flute performance, music history, and other favorite flutists.
The arrival of Lent and the anticipation of Holy Week on the Christian liturgical calendar bring with them what professional musicians call “passion season.” In a close parallel to “Messiah season” in December, singers and players hope to find work performing musical settings of the crucifixion narrative, to help audiences and congregations listen and worship and to help get themselves through the next few months’ rent.
Pre-eminent among writers of mystery stories is, in my opinion, Dorothy L. Sayers. She is ingenious, witty, original – and scientific too, including themes like the fourth dimension, electroplating, and the acoustics of bells in some of her best stories. She is also the inventor of the voice-activated lock, which her hero Lord Wimsey deploys in the 1928 short story ‘The Adventurous Exploit of the Cave of Ali Baba’.
How does one capture the Classical style sound aesthetic when approaching performance of eighteenth-century repertoire on the modern piano? Although it is important to know of the period instruments and their associated physical sound qualities, knowing how period musicians approached their art emotionally and intellectually will provide even deeper insight into discovering how to recreate the sound aesthetic.
This month marks the fifth anniversary of 3.11–the moniker for the earthquake, tsunami, and Fukushima nuclear disaster that struck northeastern Japan on 11 March 2011, killing nearly 20,000 and displacing as many as 170,000 people. In addition to mourning for lost souls, the anniversary was marked by loud anti-nuclear protests all over Japan.
George Martin’s contributions to the way we hear music today are incalculable. Many describe him as the “fifth Beatle,” and his work with those musicians certainly warrants recognition, but his contributions to recorded sound in the twentieth century go far beyond that epithet. In an era when record company marketing lauded hyperbolic praise on stars and some producers presented themselves as supreme geniuses, George Martin maintained a relatively discreet presence.
The current La traviata at the Royal Opera House premiered in 1994 and almost immediately established itself as a modern classic. It succeeded a highly successful production by Luchino Visconti and John Copley, which had run for 27 years and had featured legendary sopranos, including Mirella Freni, Joan Sutherland, Montserrat Caballé, and Kiri Te Kanawa. To follow Visconti was a hard act, but the 1994 Royal Opera House La traviata did just that and with considerable panache.
This month’s spotlight instrument is particularly important to me; I played the flute for ten years as an adolescent and continue to have a soft spot for it. From long practices at high school band camp to dressy solo performances at the Colburn School where I studied on weekends, the flute was a dear and constant companion. Here are a few reasons I’ll always prefer it.
Publishing music books would be much harder without our stellar editorial team. We sat down with three editorial assistants from the New York office – Lauralee, Eden, and Andrew – to talk about Oxford University Press, their music lives inside and out of the office, and current literary addictions.
Nadia Boulanger (1887-1979) remains one of the most influential music teachers to have ever assigned counterpoint exercises. She was largely responsible for the training that made composers as diverse as Aaron Copland, Philip Glass, and Elliott Carter sound the way they do—each inherently unique, each an easily identifiable Boulanger pupil. And of those living composers championed by Boulanger, Igor Stravinsky held pride of place.
How does one grapple with music research in the digital age? What are the changes and challenges therein? On 23 June 2015, a group of distinguished academics and editors came together for a panel discussion on “Referencing music in the twenty-first century: Encyclopedias of the past, present, and future” at a conference organized by the International Association of Music Libraries, Archives and Documentation Centers (IAML) and the International Musicological Society (IMS).